original photo by Alan Murphy_____________________________________
Start
We start with the tools:
the easel, the canvas, the paint, the brushes and the palette
the easel, the canvas, the paint, the brushes and the palette
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Step 1
I lay down the background.
For this particular painting the background is not detailed and is more or less a matte. I start by wetting the canvas with a generous amount of water. This is a standard water color technique and since acrylic paints are also water soluble this helps to spread the paint softly across the canvas. Using the colors primary yellow, hooker's green, burnt umber and cadmium red light I mix the paint right on the canvas. Once the colors are mixed satisfactorily I use long brush strokes that span the width of the canvas to remove signs of the paint mixing process. Before the paint can begin to dry (acrylics dry very fast) I clean and dry my large brush and attack the canvas rigid circular brush strokes. This "roughs up" the paint and gives it texture.
Step 1
I lay down the background.
For this particular painting the background is not detailed and is more or less a matte. I start by wetting the canvas with a generous amount of water. This is a standard water color technique and since acrylic paints are also water soluble this helps to spread the paint softly across the canvas. Using the colors primary yellow, hooker's green, burnt umber and cadmium red light I mix the paint right on the canvas. Once the colors are mixed satisfactorily I use long brush strokes that span the width of the canvas to remove signs of the paint mixing process. Before the paint can begin to dry (acrylics dry very fast) I clean and dry my large brush and attack the canvas rigid circular brush strokes. This "roughs up" the paint and gives it texture.
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Step 2
I pencil in the subject matter.
Once the background is completely dry I pencil in the subject. The object is to lay out the basic shapes as outlines. The only detail required is to separate different color blocks.
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Step 3
Block-in the black areas
I begin to paint in the color blocks. Here I've started with black parts.
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Step 4
Block-in orange areas
Fairly simple - just color inside the lines!
_________________________________________
Step 5
Finish blocking-in main subject
Here I have finished the "undercoat" of the main subject. I will return to do fine detail once the rest of the color blocking is done.
_____________________________________
Step 6
Finish blocking-in supporting flora
All the main parts of the painting have their base color and are ready for detail.
__________________________________
Step 7
Paint fine detail on main subject
Using my fine brush I mix the paint to a rather watery consistency. It's important not let the paint "glop" on at this juncture. When the detail becomes too stark I let the paint dry thoroughly and then use watered down paint that's the same color as the undercoat. This softens the detail and helps blend it in without diminishing the overall effect.
______________________________________
Step 8
Paint fine detail on the surrounding flora
This is actually the most challenging element of this particular painting. Making a leaf, a branch and a berry look realistic requires some trial and error. Color mixing for consistency is important because you can't mix too much at a time. Since each leaf takes so much time the paint sitting on the palate tends to dry out before you get to the next one.
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Step 9
Finish fine detail on the leaves and berries
________________________________
Step 10
The signature
I always try to include the year the painting was completed. I also write on the back in permanent marker the title, the artist, the medium and any other notes that are pertinent.
_____________________________________
Finish
"Murphy's Oriole"
Step 2
I pencil in the subject matter.
Once the background is completely dry I pencil in the subject. The object is to lay out the basic shapes as outlines. The only detail required is to separate different color blocks.
________________________________Step 3
Block-in the black areas
I begin to paint in the color blocks. Here I've started with black parts.
________________________________________Step 4
Block-in orange areas
Fairly simple - just color inside the lines!
_________________________________________Step 5
Finish blocking-in main subject
Here I have finished the "undercoat" of the main subject. I will return to do fine detail once the rest of the color blocking is done.
_____________________________________Step 6
Finish blocking-in supporting flora
All the main parts of the painting have their base color and are ready for detail.
__________________________________Step 7
Paint fine detail on main subject
Using my fine brush I mix the paint to a rather watery consistency. It's important not let the paint "glop" on at this juncture. When the detail becomes too stark I let the paint dry thoroughly and then use watered down paint that's the same color as the undercoat. This softens the detail and helps blend it in without diminishing the overall effect.
______________________________________Step 8
Paint fine detail on the surrounding flora
This is actually the most challenging element of this particular painting. Making a leaf, a branch and a berry look realistic requires some trial and error. Color mixing for consistency is important because you can't mix too much at a time. Since each leaf takes so much time the paint sitting on the palate tends to dry out before you get to the next one.
_______________________________________Step 9
Finish fine detail on the leaves and berries
________________________________Step 10
The signature
I always try to include the year the painting was completed. I also write on the back in permanent marker the title, the artist, the medium and any other notes that are pertinent.
_____________________________________Finish
"Murphy's Oriole"
